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The fuzzy, neurotic, unmistakably Jewish legacy of cartoonist Ed Koren
(JTA) — The other day I was in a kosher Chinese restaurant and I noticed an older white guy happily eating alone. He had white shaggy beard and white shaggy hair tucked under a ball cap reading “You had me at coffee.” He looked like a former City College professor who was thoroughly enjoying his retirement.
In other words, he looked like an Ed Koren cartoon.
Koren, who died last Friday at 87, published well over 1,000 cartoons in The New Yorker magazine, starting in 1962. His drawings were instantly recognizable, featuring fuzzy, lumpy, big-nosed people who looked vaguely like gentle animals, and fuzzy, lumpy, big-nosed animals that looked vaguely like amiable people.
His subject matter was also consistent: Middle-class, slightly neurotic characters whose challenges were as minor as they were familiar to the New Yorker’s target readers. In one, set in a restaurant, a well-dressed couple is interrupted at their meal by a waitress who explains, “We think it’s terribly important that you meet the people responsible for the food you are eating tonight.” Behind her is a crowd of farmers, along with a turkey and a cow.
In another, set in a playground, a little girl is eating an enormous ice cream cone. “My parents decriminalized sugar,” she tells her friends.
The New York Times, reviewing an exhibit of his work, once described him as the “poet laureate” of the Upper West Side of Manhattan. The same article also described the neighborhood as “the home of overeducated, comfortable but not super rich liberals and the psychotherapists who treat their garden-variety neuroses.”
I hesitate to lay too much Jewish significance on artists or writers who didn’t make much of their own Jewish identities, but many of Koren’s characters seemed Jewish even if he didn’t say so. And Koren, born to Jewish parents in Manhattan on Dec. 15, 1935, seemed never to have said so. The few references to his Jewish background that I found came via his friends, like Ben Cohen of Ben and Jerry’s, who once told a newspaper, “Like Ed, I’m a Jewish guy from the suburbs of New York City.” (Koren grew up in Mount Vernon, in Westchester County.)
Instead, his characters inhabited a world defined by familiar markers of a white, secular, upper middle class New York: Zabar’s tote bags, fussy restaurants, overstuffed apartments, hovering parents, pampered pets. Not explicitly Jewish, but unmistakably so, like the Upper West Side itself.
Koren attended Horace Mann School in the Bronx, and edited the Jester, the student humor magazine at Columbia College. After graduation he worked odd jobs, then got a Master of Fine Arts degree at Pratt and taught printmaking, drawing and design courses at Brown University for 13 years. When he wasn’t drawing cartoons (“I couldn’t survive as a cartoonist, frankly,” he once explained) he did illustrations for other magazines, books and advertisers, and made prints that were shown in gallery shows.
He became a full-time resident of Vermont in 1982, but even his cartoons set in the countryside often featured city dwellers adjusting — clumsily — to rural life. (A pair of hikers are stuck in a tree as a pair of furry beasts shake the trunk. The man says to the woman, “Tell them how hard we’ve worked to protect their habitat.”)
Despite the city’s changes, Koren cartoons still come alive on Amsterdam Avenue and in Riverside Park. Bearded, older dads pushing toddlers in strollers. Vaguely bohemian women walking dogs who look just like them. Precocious tots already thinking about their college essays.
“I’m a social historian in a funny way, I guess. Or, looking at it another way, an armchair anthropologist,” Koren told an interviewer in 2012. “What I find funny is the formulaic way in which people go about their lives and the absurd, silly things they do — unreflectively, unthinkingly, intensely, humorlessly. All those things intrigue me. It’s an endless well of delight and absurdity.”
All of which is to say that some people contribute to the Jews’ self-understanding without, like Koren, wearing their Jewishness on their sleeves or anywhere else. I recently covered an exhibit of Yiddish holdings from the library at the Jewish Theological Seminary. There are cartoons on display that show Jewish immigrants as they were at the turn of the 20th century – peddlers, rabbis, cobblers, garment workers. Perhaps 100 years from now certain kinds of New York Jews of the late 20th and early 21st century will be represented by an Ed Koren cartoon.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
The post Conservative and Christian movies are coming for Hollywood appeared first on The Forward.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.
